introduction to braille music transcription to braille music transcription mary turner de garmo...

Introduction to Braille Music Transcription

Mary Turner De Garmo

Second Edition

Revised and edited by

Lawrence R. Smith Music Braille Transcriber

Bettye Krolick

Music Braille Consultant

Beverly McKenney Music Braille Transcriber

Sandra Kelly

Music Braille Advisor

Volume I

National Library Service for the Blind and Physically Handicapped The Library of Congress

Washington, DC

2005

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Contents VOLUME I Foreword to the 1974 Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi Preface to the 2005 Edition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii How to Use This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv Related Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv Overall Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv References to MBC-97 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv Using Computer Assistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv Taking the Course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi PART ONE: Basic Procedures and Transcribing Single-Staff Music 1 Formation of the Braille Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 Eighth Notes, the Eighth Rest, and Other Basic Signs . . . . . . . . . . . . . . . . . . . . 3 General Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Examples for Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Procedures Specific to This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Drills for Chapter 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Exercises for Chapter 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 3 Quarter Notes, the Quarter Rest, and the Dot . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Examples for Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Drills for Chapter 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Exercises for Chapter 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 4 Half Notes, the Half Rest, and the Tie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Drills for Chapter 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Exercises for Chapter 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 5 Whole and Double Whole Notes and Rests, Measure Rests, and Transcriber-Added Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Various Print Methods for Showing Consecutive Measure Rests . . . . . . . . . . . . . 26 Reading Drill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Drills for Chapter 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Exercises for Chapter 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 6 Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Directions for Brailling Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Examples for Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Drills for Chapter 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

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Exercises for Chapter 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 7 Octave Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 The Seven Octave Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Rules for Using Octave Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Aid for Use of Octave Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Other Uses for Octave Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Drills for Chapter 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Exercises for Chapter 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 8 The Music Heading: Signatures, Tempo, and Mood . . . . . . . . . . . . . . . . . . . . . . 47 Key and Time Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Words Indicating Tempo and Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Metronome Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Practices Specific to This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Drills for Chapter 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Exercises for Chapter 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 9 Fingering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 The Five Finger Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Directions for Using Finger Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Drills for Chapter 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Exercises for Chapter 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 10 Changes of Signature; the Braille Music Hyphen, Asterisk, and Parenthesis; Clef Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Changes of Key and/or Time Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 The Braille Music Hyphen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Footnotes and the Braille Music Asterisk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 The Braille Music Parenthesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Clef Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Drills for Chapter 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Exercises for Chapter 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 11 Segments for Single-Line Instrumental Music, Format for the Beginning of a Composition or Movement . . . . . . . . . . . . . . . . . 71 Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Length of a Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Where a New Segment Should Be Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Clues from the Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Restatement of Ties and Accidentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Format for a Single Orchestral or Band Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Omitting Measure Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Format for the Beginning of a Composition or a Movement . . . . . . . . . . . . . . . . . 79

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Transposing Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Accidental Signs in Combination with Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Drills for Chapter 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Exercises for Chapter 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 12 Slurs (Phrasing) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 The Short Phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 The Long Phrase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 A Combination of Short Slurs and Brackets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Overlapping Slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Choosing a Method for Showing the Long Slur . . . . . . . . . . . . . . . . . . . . . . . . . . 89 The Use of the Slur with Tied Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 When a Slur May Look Like a Tie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Drills for Chapter 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Exercises for Chapter 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 13 Words, Abbreviations, Letters, and Phrases of Expression . . . . . . . . . . . . . . . . 97 The Word Sign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Single Words, Abbreviations, and Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Special Signs for Crescendo and Decrescendo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Two or More Word-Sign Expressions Shown Together . . . . . . . . . . . . . . . . . . . . 99 Dividing Expressions at the End of a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Lines of Continuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Longer Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Combining Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Lines of Continuation with Longer Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Dividing a Longer Expression at the End of a Line . . . . . . . . . . . . . . . . . . . . . . . 105 Heading at an Important Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Music Notation in a Literary Passage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Drills for Chapter 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Exercises for Chapter 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 14 Symbols of Expression and Execution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Symbols Commonly Encountered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Directions for Signs Brailled before the Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Doubling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Order among These Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Bowing Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Directions for Signs Brailled after the Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Breath Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Using the Abbreviation “sim.” When a Pattern Is Continued Exactly . . . . . . . . . 116 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Drills for Chapter 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Exercises for Chapter 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

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15 Smaller Values and Regular Note-Grouping, the Music Comma . . . . . . . . . . . 123 Notes and Rests of Smaller Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Chart for Note and Rest Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Regular Grouping of Notes of Smaller Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Basic Requirements for Grouping 16ths, 32nds, and 64ths . . . . . . . . . . . . . . . . . 125 Determining the Number of Notes Constituting a Group . . . . . . . . . . . . . . . . . . . 127 Outline for Grouping Notes of Smaller Value . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Table for Grouping According to Some Common Time Signatures . . . . . . . . . . . 129 The Two Value Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Indicating the Values of Notes in a Cadenza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Grouping Notes of Larger Value, the Music Comma . . . . . . . . . . . . . . . . . . . . . . 133 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Drills for Chapter 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Exercises for Chapter 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 16 Irregular Note-Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 The Common Triplet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Grouping with Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 All Other Irregular Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Note-Grouping in a Cadenza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Drills for Chapter 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Exercises for Chapter 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 17 Measure Repeats, Full-Measure In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 General Introduction to Braille Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 General Directions for Using the Measure-Repeat Sign . . . . . . . . . . . . . . . . . . . . 151 Ties and Short Slurs in Conjunction with the Repeat Sign . . . . . . . . . . . . . . . . . . 155 Long Slurs in Conjunction with the Repeat Sign . . . . . . . . . . . . . . . . . . . . . . . . . . 156 The Full-Measure In-Accord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Directions for Use of the In-Accord Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Ties in Conjunction with the In-Accord Device . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Doubling in Conjunction with the In-Accord Device . . . . . . . . . . . . . . . . . . . . . . 162 The Measure Repeat in Combination with the In-Accord Device . . . . . . . . . . . . . 162 The Addition of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 When the In-Accord Device Should Not Be Used . . . . . . . . . . . . . . . . . . . . . . . . . 164 Drills for Chapter 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Exercises for Chapter 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 18 Measure Repeats Shown with Numerals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 General Introduction to Numeral Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Using a Forward-Numeral Repeat for a Single Measure . . . . . . . . . . . . . . . . . . . . 171 Using a Forward-Numeral Repeat for a Group of Measures . . . . . . . . . . . . . . . . . 173 Using a Backward-Numeral Repeat for One Measure or a Group of Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Directions for Using the Backward-Numeral Repeat Device . . . . . . . . . . . . . . . . 175 The Choice of Numeral Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 A Word of Caution Regarding Numeral Repeats . . . . . . . . . . . . . . . . . . . . . . . . . 180

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A Step beyond Mere Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Drills for Chapter 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Exercises for Chapter 18 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 19 Part-Measure Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 General Introduction to Part-Measure Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Repeat of a Half Measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Repeat of a Simple Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Repeat of a Compound Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Repeats Should Not Encompass Parts of Different Beats . . . . . . . . . . . . . . . . . . . 189 Repeat of a Single Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Repeat of a Part Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Part-Measure Repeats in Connection with Other Signs . . . . . . . . . . . . . . . . . . . . 191 Consecutive Part-Measure Repeats of Unlike Value . . . . . . . . . . . . . . . . . . . . . . 193 Grouping Often Preferable to Short Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Drills for Chapter 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Exercises for Chapter 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 20 Print Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Forward and Backward Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 First and Second Endings (Prima e Seconda Volta) . . . . . . . . . . . . . . . . . . . . . . . 204 Numbering the Measures of First and Second Endings . . . . . . . . . . . . . . . . . . . . 206 Da Capo or D.C. Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Dal Segno or D.S. Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Directions for Brailling the Segno Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Marking a Coda or Other New Print Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 Review Chart of Print Directions for a Segno Passage and Its Repetition . . . . . . . 212 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Braille Da Capo and Segno Repeats That Are Not Shown in Print . . . . . . . . . . . 213 Directions for Drills and Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Drills for Chapter 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Exercises for Chapter 20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 21 Fractioning, Tremolo, and Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Fractioning (Note Repetition) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Tremolo (Note Alternation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Appoggiaturas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 Slurs with Appoggiaturas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 The Trill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Accidentals Shown with Ornament Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Turns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Accidentals Affecting a Turn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Mordents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Drills for Chapter 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Exercises for Chapter 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

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22 Simple Songs and Choral Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 General Introduction to Transcribing Vocal Music . . . . . . . . . . . . . . . . . . . . . . . 231 Directions for Transcribing Vocal Solo Music . . . . . . . . . . . . . . . . . . . . . . . . . . 232 The Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 The Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Measure Numbers and Headings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Use of the Slur Sign as the “Syllabic Slur” in Vocal Music . . . . . . . . . . . . . . . . . 234 Braille Music Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Division at the End of a Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Word and Phrase Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Print Musical Repeats and Additional Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Extracting Individual Parts from a Choral Score . . . . . . . . . . . . . . . . . . . . . . . . . 241 Drills for Chapter 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Exercises for Chapter 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 23 Preliminary Pages, a Complete Transcription . . . . . . . . . . . . . . . . . . . . . . . . . . 249 The Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Style of the Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 The Special Symbols and Transcriber’s Notes Pages . . . . . . . . . . . . . . . . . . . . . . 250 General Considerations That Are Dependent upon the Nature of the Transcription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Special Instructions for the Drill and Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Drill for Chapter 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 Exercise for Chapter 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Solutions for the Drills of Volume I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Index to Volumes I and II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Index - 1 VOLUME II PART TWO: Transcribing Two- and Three-Staff Music 24 Bar-over-Bar Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Right and Left Hand Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Hand Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Introduction to Bar-over-Bar Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Tracker Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Measure Division . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Measure Alignment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Placement of Word-Sign Expressions at the Beginning of a New Line . . . . . . . . 317 Placement of Word-Sign Expressions Located Elsewhere on the Line . . . . . . . . 319 Braille Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Print Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Changes of Signature, Mood, or Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Drills for Chapter 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Exercises for Chapter 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

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25 Piano Music: Pedaling, Slurs between Staves, Crossing of Hands, and Full-Measure In-Accords . . . . . . . . . . . . . . . . . . . . . . . 331 Piano Pedaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Placement of Pedaling Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Omission of a Pedal-Up Sign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Pedaling in Conjunction with Repeats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Special Slurs between Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 The Crossing of Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 The Full-Measure In-Accord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Drills for Chapter 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Exercises for Chapter 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 26 Interval Signs and Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 The Seven Interval Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 General Procedure for the Transcription of Chords . . . . . . . . . . . . . . . . . . . . . . . 347 The Use of Common Symbols and Procedures with Chords . . . . . . . . . . . . . . . . . 349 The Dot, Accidentals, and Finger Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349 Measure Division . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 Symbols of Expression or Execution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 Direction of Intervals with “Visiting Hands” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 Arpeggios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Slurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Ties between Two Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 Ties between a Chord Note and a Single Note . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Ties between a Broken Chord and a Solid Chord . . . . . . . . . . . . . . . . . . . . . . . . . 354 Ornaments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 The Use of the Repeat Sign for Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Doubling of Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Doubling of Intervals in Conjunction with the Measure Repeat . . . . . . . . . . . . . . 359 Fingering for a Doubled Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 Doubling More than One Interval . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 The Chord Tie with Doubled Intervals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Doubling of Intervals When Appoggiaturas Are Present . . . . . . . . . . . . . . . . . . . . 361 Proofreading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Drills for Chapter 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Exercises for Chapter 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 27 In-Accords and Stem Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 General Explanation of In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Part-Measure In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Procedure for Showing a Part-Measure In-Accord . . . . . . . . . . . . . . . . . . . . . . . . 371 Measures That Present a Choice of In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . 373 A Brief Summary Regarding Choice of In-Accord . . . . . . . . . . . . . . . . . . . . . . . 375 Incomplete Measures with In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Measure Division with In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

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A Slur between In-Accord Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 A Hand Part Shown in Two Staves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Further Uses of the Measure In-Accord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378 Stem Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 General Directions for Stem Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 A Choice between Stem Signs and In-Accords . . . . . . . . . . . . . . . . . . . . . . . . . . 381 General Order of Signs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 Drills for Chapter 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Exercises for Chapter 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 28 Music on Three Staves: Accompaniments and Organ Music . . . . . . . . . . . . . . 391 Organ Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Indications for Pedaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 Electronic Organs, Synthesizers, and Other Keyboards . . . . . . . . . . . . . . . . . . . . 394 Accompaniments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 The Solo Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 When the Solo and Accompaniment Are Written in Different Keys . . . . . . . . . . . 395 Omitting the Solo Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Special Instructions for the Drills and Exercises . . . . . . . . . . . . . . . . . . . . . . . . . 396 Drills for Chapter 28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 Exercises for Chapter 28 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 PART THREE: Specialized Procedures 29 Chord Symbols with Vocal Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 Directions for Transcribing the Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . 403 Placement of the Line for Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 Basic Placement of Chord Symbols Relative to Word Syllables . . . . . . . . . . . . . 404 Transcriber’s Note Required . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Directions for Transcribing Chord Symbols with Song Texts . . . . . . . . . . . . . . . . 406 Transcribing Additional Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 General Observations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Drills for Chapter 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Exercises for Chapter 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 30 More about Keyboard Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 An Extended Rest in One Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 Reducing the Parallel to a Single Line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Using the Abbreviation “sim.” When a Pattern Is Continued Exactly . . . . . . . . . . 418 Chord Symbols in Keyboard Music When No Words Are Present . . . . . . . . . . . 420 A “Lead Sheet” That Has Only Melody and Chord Symbols . . . . . . . . . . . . . . . 421 Drills for Chapter 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 Exercises for Chapter 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 31 More about Vocal Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Dividing a Word between Syllables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Directions for Dividing a Syllable between Parallels . . . . . . . . . . . . . . . . . . . . . . 427

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Dividing the Syllable in the Word Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Showing the Syllabic Slurs in a Divided Syllable . . . . . . . . . . . . . . . . . . . . . . . . . 427 The Merging of Syllables on One Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 Alternate Endings in a Strophic Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Variation among Verses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 Text in Two Languages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Drills for Chapter 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Exercises for Chapter 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 32 Ensemble Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 General Introduction to Ensemble Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Directions for Transcribing Instrumental Ensemble Music . . . . . . . . . . . . . . . . . 441 Listing the Names of the Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 A Keyboard Instrument in an Ensemble Score . . . . . . . . . . . . . . . . . . . . . . . . . . 443 A Parallel May Not Be Divided between Pages . . . . . . . . . . . . . . . . . . . . . . . . . . 443 The Music Heading and the Key Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 Transcribing the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 Word-Sign Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Showing Details in Keyboard Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 Spacing between Parallels and Placement of Rehearsal References . . . . . . . . . . . 446 Runover Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 Braille Repeats and Unison or Octave Parallel Movement . . . . . . . . . . . . . . . . . . 448 General Directions for Transcribing Choral Scores . . . . . . . . . . . . . . . . . . . . . . . 450 Basic Structure of the Parallel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Measure Numbers and Rehearsal Reference Marks . . . . . . . . . . . . . . . . . . . . . . . 451 When All Voices Have the Same Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 When Slight Variations Occur in the Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 When the Voices Have Different Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 Combining Identical Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 A Temporarily Divided Part . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 When Texts Are Printed in Two Languages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Special Instructions for the Drills and Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Drills for Chapter 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Exercises for Chapter 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 33 Music That Employs Special Print Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465 Sections of Music Braille Code, 1997 Devoted to Special Notations . . . . . . . . . . 466 34 Completing the Course, a Concluding Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Special Instructions for the Exercise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Exercise for Chapter 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Solutions for the Drills of Volume II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 General Order of Signs in Relation to a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521 Index to Volumes I and II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Index-1

x

Tables and Charts Symbols Commonly Encountered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Chart for Note and Rest Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Table for Grouping According to Some Common Time Signatures . . . . . . . . . . . 129 Review Chart of Print Directions for a Segno Passage and Its Repetition . . . . . . . 212 Sections of Music Braille Code, 1997 Devoted to Special Notations . . . . . . . . . 466 General Order of Signs in Relation to a Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521

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Foreword to the 1974 Edition

The Need for Music Transcribers

Three groups in particular need the services of music transcribers: (1) blind children who attend public schools; (2) blind children who attend residential schools; and (3) blind adult musicians, both professional and nonprofessional.

With thousands of blind children attending regular public schools (some 58 percent) along

with the sighted under the integrated program that has been adopted by many states, the need for music transcribers is growing rapidly. For such subjects as English, foreign languages, science, mathematics, etc., there is usually at least one set text. This text may be supplied in press braille through the state, or it may be transcribed or recorded ahead of time by a volunteer. In the music field, however, there is no set text. The individual band, orchestral, or choral part that the blind child may need changes constantly, according to the selections made from time to time by each particular musical director. Without the services of a trained volunteer music transcriber who can turn out this material rapidly, such a child does not have the chance of being able to take his rightful place in the music program that is offered by the school, no matter how talented he may be. Furthermore, he will very likely be unable to study privately with a sighted teacher, if he should so desire, unless the teacher can freely choose the music to be studied. Such freedom can be assured only if a transcriber can be found who is able and willing to provide the scores.

The music transcriber can also serve pupils who attend the residential schools. Although

press-braille music is available to them, the choice of material is limited to specific selections that are listed in the music catalogs. In some fields such as keyboard music, the choice is wide; for some instruments the choice is very limited.

The braille music transcriber can also serve blind professional musicians--those who are

teaching blind or sighted children or performing professionally in any field of music--by enabling them to broaden their choice of selections and by giving them access to new materials which otherwise might not be available.

In addition to serving the above-mentioned groups directly, the transcriber also can serve

them indirectly (and single individuals as well) through the Library of Congress, which tries to provide materials requested by the blind from any place in the United States. This book is designed to train such transcribers, as well as those who wish to work for individuals, so that the national program of providing music for the blind can meet the increasing need.

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Preface to the 2005 Edition In the decades since Mary Turner De Garmo wrote the first edition of this book, the situation

concerning the need for music transcribers has both improved and worsened. The demand for music braille has significantly increased. The means for producing it have become faster and easier. Braille transcribing is now recognized as a profession as well as a volunteer service. The number of available qualified transcribers, however, has declined.

Many states have vastly increased the services that they provide to blind children, and in

many cases their legislatures have required that whatever materials are available for sighted children must also be available to blind children in appropriate media. Funds are often available for professional production of music materials in braille, in tape recordings, and in large type for children with limited vision.

Use of computers and electronic transfer of computer files has greatly speeded and eased the

task of transcribing. Some computer programs have been developed that automatically translate music notation into braille. The advice of trained music braillists is needed by non-braillists who are starting to use the translation programs, to ensure that the result is good music braille. The developers of the programs work closely with certified transcribers to make their programs adaptable for an increasing variety and complexity of music.

The music braille code has been internationally agreed upon. The New International Manual

of Braille Music Notation contains the assignment of signs and symbols that resulted from the agreement. Many questions of format are deliberately not covered in that manual because among the various countries there are differences of customary usage that do not impinge upon the basic readability of the music braille. Music Braille Code, 1997, adopted by the Braille Authority of North America, addresses some of those questions for the countries that BANA represents. This edition adheres to the rules of that code, and it recommends practices that are consistent with those rules in circumstances where no rules are supplied.

At the time of this writing there are fewer than forty certified music transcribers known to be

working in the United States. It is fervently hoped that the availability of this new edition of the manual will help attract qualified musicians into learning the transcriber’s art, will facilitate the progress of students presently learning, and will serve as a useful reference for active transcribers and all others who are producing music braille by any means.

Sandra Kelly, Music Braille Advisor

National Library Service for the Blind and Physically Handicapped, Library of Congress Bettye Krolick, Music Braille Consultant

Former Chair, Music Technical Committee, Braille Authority of North America Compiler, New International Manual of Braille Music Notation and Music Braille Code, 1997

Beverly McKenney, Music Braille Transcriber Chair, Music Technical Committee, Braille Authority of North America

Lawrence R. Smith, Ph.D., Music Braille Transcriber Chair, Music Braille Committee, National Braille Association

xiii

Acknowledgments Among the many people who have assisted in the revision process, we wish to acknowledge two in particular: Trix Eshuis (Royal New Zealand Foundation of the Blind) in Auckland, and Karin Auckenthaler (Canadian National Institute for the Blind) in Toronto. They have both devoted many hours to this project for well over a year, and they have generously continued to use the draft of this book with their students. Their comments and suggestions have been invaluable and we are deeply indebted to them. We also want to thank John Hanson, Head, Music Section, National Library Service for the Blind and Physically Handicapped, Library of Congress, for producing the Index to this revision and preparing the manuscript for publication. Special appreciation is extended to the following publishers for permission to use excerpts which serve as examples or exercises in the text: Alfred Publishing Co., Inc., for Searle Wright’s Carol-Prelude on “Greensleeves,” in Example 28-3. Hal Leonard Corporation, for use of Intermediate Method for Clarinet in Exercise 21-1 and Encore Folio for Clarinet in Example 26-5 and 26-6. Pearson Education, Inc., for two titles from the Music for Living Series; from Music in Our Country, in Examples 22-1 and 22-2; from Music Around the World, in Exercises 1, 2, and 3 for Chapter 22.

xiv

How to Use This Book As its title indicates, this book is intended to serve as a text for learning to transcribe music

notation into braille. If the learner is seeking to become certified by the Library of Congress as a Music Braille Transcriber, it will function as the text for the course. It has been designed so that it can also serve as a self-study manual, although the editors strongly urge that anyone studying music braille transcribing find a qualified tutor or mentor. Music notation is an art more than a science, and it is often desirable to discuss questions of judgment with someone more experienced.

Related Resources The book is not intended to be used by itself. Since there is a great deal of literary material

associated with a typical music score, it is expected that the user is well versed in the literary braille code. If he* is seeking a certificate, he must have achieved literary certification before he enrolls in the music course. The book should be used in conjunction with three other resources: (1) the literary code, English Braille, American Edition, 1994, (2) the rule book for the formatting of braille where the music code is not in effect, Braille Formats: Principles of Print to Braille Transcription, 1997, and most importantly, of course, (3) the rules for music braille itself, Music Braille Code, 1997 (MBC-97).

Overall Plan The text is presented in three parts. Part One introduces the basic signs and procedures of

music braille and prepares the student to transcribe music that is printed in single lines, or to extract single-line parts from instrumental or vocal scores for the use of individual braille readers. Part Two introduces the braille format for transcribing music that is vertically arranged in a system that consists of two or three connected staves. The student is thus prepared to transcribe music for piano, organ, and other keyboards, including accompaniments of vocal and instrumental solos and ensembles. Part Three introduces some specialized formats and procedures that a music transcriber is fairly certain to find he must employ. The student is then ready to prepare a transcription that will demonstrate that he is qualified for certification.

Each chapter consists of three elements. (1) The topics of the chapter are discussed and

illustrated by examples. (2) A set of drills is provided so that the student can put into practice what he has just learned. Correct transcriptions of the drills are located at the back of the volume. (3) A set of exercises is the “test” to be submitted to the instructor.

The drills for each chapter have been designed to be very similar to the exercises. The

instructor cannot, of course, answer direct questions about the exercises, but he can freely discuss questions that arise in the preparation of the drills. It is hoped that this methodology will enable the student to complete each lesson having submitted only one or two trials.

The material has been organized so that a learner who has completed Part One may

confidently provide help to others who are working in that phase of the course, and so on.

References to MBC-97 Throughout the book, references are included that direct the student’s attention to relevant

sections of MBC-97. Those references appear in small type, enclosed between brackets, as, for

xv

instance: [T17, 17.6]. In the references, “T” represents the word “Table,” and the number of the table follows without space. “GT” stands for “General Table.” A number alone indicates a section. Commas within the references are there to separate individual citations. The reference shown above, then, is read, “Table 17 and Section 17.6.”

Using Computer Assistance Many braille transcribers use computer programs to facilitate production. It is acceptable to

use a computer in preparing the work required by this text. However, one should not rely on the translating capabilities of some programs without very carefully checking the braille output. None of the relaxations of rules that are permitted in producing literary braille by computer are allowed in music transcriptions. For instance, in computer-produced literary transcriptions, one need not divide words at the ends of braille lines; this freedom is not provided for in the music code.

There are computer programs that produce music braille from a scanned image of printed

music. It is not forbidden to use these programs in preparing drills and exercises. However, the student is held entirely responsible for the quality of the resulting braille. In fact, the student of music braille is encouraged to become familiar with these programs, because he can then be of help to others who are using the programs but who do not have the knowledge required for checking their results.

Taking the Course To begin the course toward a certificate in music braille transcription, the student should

contact the Braille Development Section, NLS (1-800-424-8567) and speak with a Music Braille Advisor. He will be asked to complete an application that will request, along with his qualification in literary braille, a summary of his music education and experience. The advisor might recommend that he undertake a review of some music theory topics as he embarks upon the transcription course. If the student has not already arranged for a particular instructor, the advisor will suggest some who may be contacted.

Accuracy is even more important in music braille than it is in literary braille. If a word is

misspelled, the reader may often deduce the correct word from its context. If a note’s pitch, duration, or octave placement is given wrongly, the reader has no way of guessing that fact. For this reason, evaluation of the student’s work is very stringent. An assignment will be considered unacceptable if it contains a combined total of three or more pitch, note name, and/or value errors. The student may have to resubmit all or part of an assignment. He will be provided three opportunities to submit an acceptable transcription of each assignment. If an acceptable standard is not achieved in three attempts, the student will be asked to withdraw from the course. A student who has withdrawn from the course is given one opportunity to reenroll. The student who qualifies to reenroll must wait at least three months before requesting reenrollment in the course.

If the instructor is not a member of the staff of NLS, at some prearranged point the student

will switch to the tutelage of a staff member for the remainder of the course. When the student has completed the work of this text, the NLS teacher will assign him a piece of music to be prepared as his certification manuscript.

Editors’ note: Masculine pronouns have been used to avoid the cumbersome “he/she.”

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References Braille Formats: Principles of Print to Braille Transcription, 1997 (FORMATS). Developed

under the Sponsorship of the Braille Authority of North America. American Printing House for the Blind, P.O. Box 6085, Louisville, Kentucky 40206-0085.

Constance Risjord, John Wilkinson, Mary Lou Stark. Instruction Manual for Braille

Transcribing, Fourth Edition, 2000. National Library Service for the Blind and Physically Handicapped, The Library of Congress. American Printing House for the Blind, P.O. Box 6085, Louisville, Kentucky 40206-0085.

English Braille, American Edition, 1994 (EBAE). Compiled under the Authority of the

Braille Authority of North America. American Printing House for the Blind, P.O. Box 6085, Louisville, Kentucky 40206-0085.

Music Braille Code, 1997. Developed under the Sponsorship of the Braille Authority of

North America. American Printing House for the Blind, P.O. Box 6085, Louisville, Kentucky 40206-0085.

1

PART ONE

Basic Procedures and

Transcribing Single-Staff Music

Chapter 1 Formation of the Braille Note

To transcribe a note into music braille, one must show two characteristics of that note in a single braille cell:

1. Its correct name (whether it is a C, D, E, etc.) 2. Its correct time value (whether it is a whole, half, quarter, etc.). How can one show two completely different aspects of a note in only one cell? This

objective is accomplished by dividing the cell into an upper and a lower part and by using each part for a particular purpose. The arrangement of dots brailled in the upper two-thirds of the cell (dots 1245) tells the name of the note. The arrangement of dots in the lower one-third of the cell (dots 36), or their omission, tells the time value of that note. . . Name is shown here. . . ____ . . Time value is shown here.

Thus, one always considers the upper dots of the note first, then the lower dots. In looking at the printed note to be transcribed, the braillist thinks first: “What is the name?” and second: “What is the time value?” He follows the same order in speaking of the note, thus: “C a quarter, F a sixteenth, G an eighth,” and so forth, always giving the name first, then the time value. He mentally follows the same order in getting ready to transcribe a note, first choosing for the upper part of the cell the correct braille character which shows its name, next deciding how to use the remaining two lower dots in the cell to show the time value of the note, and finally brailling both parts simultaneously.

The student thus realizes that the upper dots, which represent each of the seven notes of the

music scale, never change; they remain constant, so that they constitute what shall be called hereafter the “basic shape” of the note. For example, any C – whether a whole, a quarter, or a 128th note – will have exactly the same upper dots or “basic shape”; only the lower dots will be different, to show the appropriate time value in each case. In other words, the upper dots of each note in the musical scale are fixed; the lower dots are changeable.

2

Four things may be done with the lower dots to show time value: 1. Both may be omitted. 2. Dot 6 alone may be used. 3. Dot 3 alone may be used. 4. Both dots may be used. Each procedure shows a different time value according to the following table:

Upper Dots Lower Dots Time Value

Basic shape + None = �� Eighth note

Basic shape + 6 = � Quarter note

Basic shape + 3 = � Half note Basic shape + 3 and 6 = � Whole note

Naturally, the simplest form of the note will be the one using no lower dots. In music braille, this happens to be the eighth note. Therefore, the student of the music code commences his actual transcription with the seven tones of the musical scale written as eighth notes. (How to express smaller values – the 16th, 32nd, 64th, and 128th – is explained in Chapter 15.)

Throughout this work, as in Music Braille Code, 1997: Whole note = semibreve Half note = minim Quarter note = crotchet Eighth note = quaver Sixteenth note = semiquaver Thirty-second note = demisemiquaver Sixty-fourth note = hemidemisemiquaver

3

Chapter 2

Eighth Notes, the Eighth Rest, and Other Basic Signs

The Eighth Note [T1, 1.1]

The eighth note is formed as follows: Basic shape + 0 = �� The seven tones of the musical scale written as eighth notes, beginning with C, are:

��

d e f g h I j

The name of the note is shown in the upper dots only. The time value, eighth, is shown by the absence of both lower dots.

Looking at the notes of the scale on the staff above, transcribe the correct braille symbols going

up the scale, then down, then at random. It may be helpful to sing the names while brailling: “C an eighth,” “D an eighth,” etc. One should always think of them as musical notes or tones, not as alphabetical letters.

The first five symbols may momentarily cause slight confusion (i.e., the dots for musical C are

the same as for literary D, etc.), but any such confusion usually vanishes very quickly. When Louis Braille invented his music code, being French, he did not know that notes were given letter names in some other countries. His names for the notes were “ut, re, mi, fa, so, la, si.” Therefore, it did not trouble him to use the same sign as the letter D for the note ut, and so forth. People in countries where letter names are used for the notes have little difficulty in learning to avoid confusion between the music and literary contexts.

The student should take enough time to learn these seven basic shapes thoroughly, practicing

until he can braille them effortlessly and faultlessly, because they undoubtedly are among the most important signs in braille music notation.

The Eighth Rest [T4]

The eighth rest is designated by dots 1346: X

��

4

Other Basic Signs

1. The Measure Bar [GT Note 1], used to separate measures in print music: a blank space This bar is shown in music braille by leaving an empty cell between measures. 2. The Ending Double Bar [GT, GT Note 2], shown at the end of a piece or movement: <k

3. The Sectional Double Bar [GT, GT Note 2],

shown at the end of a section of music: <k' A double bar is brailled without an intervening space, after the last sign connected with the

music preceding it.

General Procedures [26.25] Music consisting of a single melodic line is presented in single-line format. The standard

forty-cell line and twenty-five-line page are used. The number of the first measure, preceded by the number sign, is placed at the margin. In short melodies such as those in the first few chapters of this book, if the first measure is a complete measure, this number will be one; if the melody starts with an incomplete measure, the number zero is given. The music itself follows after a single blank cell. Runover lines begin in cell 3. (Longer melodies, as will be seen in a later chapter, are broken into segments, and the number at the margin then will be the number of the first measure of the segment.)

Examples for Practice

One should work solely from the print while practicing the examples, covering the braille

answers until transcription is finished, then checking for mistakes. Each example should be repeated until it can be done without error. One should not waste time trying to rewrite the melodies on staff paper, from the braille. What is wanted here is the ability to glance at the braille note and to recognize it easily, for purposes of proofreading, not to reproduce it again in print.

Example 2-1

��

#A HXF GXI HXG FXX FXD EXG FXE DXX EXG

FXH GHI HXX IXG HXF GFE DXX<K

��

��

5

Example 2-2

��

#j e EDJE DJID JIHJ IIEX FFHF EFHJ EDJI

HHHX<K

Example 2-3

�� #A FF HI HG FH GF EG FD EX FF GG HI JD

IG FE DJ DX<K

Example 2-4

��

#A IDF EDJ DXJ IXX JJD EDJ IXI JXX<K'

IFI DJI IJD EXX FED JFJ IXI IXX<K

Example 2-5

��

#j ef GDID EDID IDIH FHGX EFGE DeFG HFDF

GX<K

6

Example 2-6

��

#A HHHHFG IHHHXH IIIDJI IHHHXX HGGGXX

GFFFXX EFEHGE DFEDXX<K

Example 2-7

��

� � � � � � � � � � � � � � � � � � � � � ��

#A FXFGXG EXEFXF DEFHGF FEEEXX DXDFXF

GXGIXI HXHHIJ EDDDXX<K

In an actual transcription, the initial note in each braille line of these examples would have been preceded by a sign that would identify its specific location on the staff. Such signs are called octave marks, and they will be explained in detail and fully illustrated in Chapter 7. Because of the order in which material is presented, the octave mark is omitted before the initial note of each braille line in each of the examples, drills, and exercises shown in Chapters 2 through 6.

No key or time signatures will be given until later. Notes are transcribed precisely the same

whether shown in treble or bass clef in the print. (Clef signs are rarely included in the braille transcription for the general reader, since they can be of no practical use to him. However, it is recommended that the clef used in the print copy be marked in a braille copy intended for the blind teacher of sighted students. These signs will be presented in Chapter 10.)

Although signatures are not shown in the examples, drills, and exercises through Chapter 7, the

musical qualities will express themselves naturally in 6/8 or 3/4 time, 2/4 or 4/8 time, etc.

General Procedures, continued A running head is used, centered between the print page and braille page numbers, on line 1

of each page. The running braille page number is placed in the upper right corner of the page. There must be at least three blank cells before and after the running head. [GT, 19.3, 19.3.1]

The print page number (the actual number of the page on which the print music appears) is in

the upper left corner, preceded without space by the print pagination sign, dots (5, 25). "3#b

7

If the braille page includes all or parts of two or more print pages, the inclusive numbers are given, hyphenated. "3#b-c

In the music braille line, the page turnover is indicated at the exact point where it occurs. If

the braille page consists of all or parts of two print pages, the print pagination sign (preceded and followed by blank cells) is brailled at that point in the music braille line. "3 If more than two print pages are included in the braille page, the number of the new print page follows the print pagination sign, and the combination is brailled at that point with spaces before and after it. "3#b (It will be seen later that the print page number is always included with the pagination sign in vocal music.)

If the beginnings of both the print page and a new braille page coincide, it is not necessary to mark the page turn in the music; the new print page number at the top of the new braille page will serve as sufficient notice. [19.3] (Use of the pagination device is demonstrated in the transcription of the drills for this chapter, on page 259.)

Procedures Specific to This Book Each chapter includes text with examples of music transcribed into braille, a set of drills, and a

set of exercises for you to submit to your instructor. The drills are self-graded exercises for you to practice.

For all drills and exercises in this book, the running head “Intro. to Braille Music” should be

used, and the print pages should be shown. Start the drills or exercises for each chapter with braille page one. Put the centered heading “Exercises for Chapter 2” in the third line of the first page, as it appears in the text. (Special instructions for the drills and exercises for chapters 23, 28, and 34 will be provided as they are needed.)

After another blank line, center the heading “Exercise 1.” Begin the music in the next braille

line. Leave one blank line between successive exercises. At the end of each set of exercises you submit, write your name and address and the date in braille and in your handwriting.

The braille transcriptions of the drills for each chapter, located at the back of the volume, have

been presented this way, as a model for you to follow in preparing your exercises.

Drills for Chapter 2 (Correct transcriptions of these drills are on page 259.)

Drill 1

��

(Remember the pagination sign.)

8

Drill 2

��

Drill 3

��

Drill 4

��

Drill 5

��

9

Exercises for Chapter 2 (Prepare these exercises for submission to your instructor, according to the instructions above, and

using the transcriptions of the preceding drills as a model for formatting.) Exercise 1

��

Exercise 2

��

Exercise 3

��

Exercise 4

��

��

Exercise 5

��

Exercise 6

��

10

Exercise 7

��

� � � � � � ��

Exercise 8

��

� � � � � � � � � � � � � � � � � � � � � ��

Exercise 9

��

� � � � � � � � � � � � � � ��

Exercise 10

��

��

11

Chapter 3 Quarter Notes, the Quarter Rest, and the Dot

The Quarter Note [T1, 1.1]

The quarter note is formed as follows: Basic shape + Dot 6 = � Since the basic shapes have already been memorized, nothing new has to be learned in order

to transcribe quarter notes; one simply follows the formula given above, adding dot 6 to the “name” part of the note. Notice the familiar upper dots (names) in these quarter notes:

��

? : $ ] \ [ w

The name is shown by upper dots only. The time value, quarter, is shown by the presence

of dot 6. To transcribe quarter notes, get the fingers ready for brailling the upper dots (basic), then for

brailling dot 6, and finally press the keys simultaneously. It may be helpful to think: “upper,” “lower,” “together.” Practice as before, up and down the scale and then at random, until the notes can be transcribed easily. Recite the notes while brailling: “C a quarter,” “D a quarter,” etc.

The Quarter Rest [T4]

The quarter rest is designated by dots 1236: v The Dot [1.4, 4.4]

The dot (for dotted notes or rests) is shown in braille by dot 3: ' The dot sign follows the note or rest immediately, without exception. If a double dot is

shown in the print, the dot sign is brailled twice in succession after the note or rest.

Examples for Practice

These six examples should be practiced as before; one should cover the braille dots (ink) and work only from the print notation. Each example should be repeated until it can be brailled easily and correctly. Then the following Drills for Chapter 3 should be completed perfectly before one prepares the exercises shown at the end of the chapter.

��

12

Example 3-1

��

#A :W\W ?W[V W\$\ :W:V $\[\ :\W: $:?[

\:\V<K

Example 3-2

��

#A []?] \$?$ ]\[] :$]V \[\? ][?: ?[\?

:$]V<K

Example 3-3

��

#A \$ [\ ]V :V ?'D :'E $V ?V \\ [W ?V [V

\'H ]: ?$ ?V<K

Example 3-4

��

#A $DE$V ]IG$V :FGHF? ::\V ]FE$V \GF]V

[HGFG\ ]:?V<K

Example 3-5

��

#A ]'D:$ ]'H[] [?:? []\V<K' \'F?$ ]'D][

\\]$ ][]V<K

13

Example 3-6

��

� ��

#A \H:E \JEJH [IIJD WJ\X [I:E \J[D JDE?I

\H\X<K

Proofreading Strict accuracy is far more important in music braille than in literary braille. If a transcriber

makes a mistake in a letter or a word, the reader still may be able to tell what that word or letter is supposed to be from the context. In music, however, the reader has no way of catching a mistake; he is completely dependent upon the transcriber. A mistake may affect not only a single note, but an entire passage, and since all music must be memorized before it can be performed, the musician may well have memorized an incorrect passage before he learns that it contains an error. Therefore, the student is urged to proofread each melody two ways, following the same familiar order of “upper-lower.”

1. Check only the upper dots of the notes, for the correct names, ignoring the lower dots. 2. Check only the lower dots, for time values, and count the beat out loud. One can spot very quickly any mistake in this manner, if there are too many or too few beats

in a measure. If the transcriber will follow this procedure, seeing the braille note not as an entity but rather as two parts joined together, he will be able to develop an amazing degree of accuracy. Some transcribers, as a check against “seeing the expected,” proofread the notes in reverse order, from the end of the melody to its beginning.

The transcriber’s name and address and the date have not been shown in the transcriptions

of the drills from here onward. However, please braille and write your own at the end of each set of exercises. Special treatments of the information will be specified in chapters 23, 28, and 34.


Drill 1

��

Drill 2

��

14

Drill 3

��

Drill 4

��

� � � � � ��

��

Drill 5

��

� � � � � ��

15

Exercises for Chapter 3 Exercise 1

��

� � � � � � � � � � � � � � � � � � � � � � � ��

Exercise 2

��

� � � � � � � � � � � � � � � � � � � � � � � ��

Exercise 3

��

Exercise 4 ��

� � � � � � � � � � � � � � � ��

Exercise 5

��

� � � � � � � � � � � � � � � ��

Exercise 6

��

� � � � � � � � � � � � � � � � � � � � �

16

Exercise 7

��

Exercise 8

��

� � � ��

Exercise 9

��

Exercise 10

��

� � ��

17

Chapter 4 Half Notes, the Half Rest, and the Tie

The Half Note [T1, 1.1]

The half note is formed as follows: Basic shape + Dot 3 = � Note the familiar upper dots (names) in these half notes:

��

n o p q r s t

The name is shown by upper dots only. The time value, half, is shown by the presence of

dot 3. To transcribe the half note, get the fingers ready for brailling the upper dots (basic), then for

brailling dot 3, and press the keys simultaneously. Think: “upper,” “lower,” “together.” Practice brailling the notes as before until they can be done easily and correctly.

The Half Rest [T4, 4] The half rest is designated by dots 136: u

Example 4-1

��

#A NP OQ PR QS RT SN TO NU<K

Example 4-2 ��

#A QS RN :?:$ QU OQ NQ $]\[ QU<K

Example 4-3

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � ��

#A N? EDJD: P$ GFEF] R\ IHGH[ JIHIJE ?U

P$ EDJD: N? JIHIW S[ HGFG\ GFEFGE ?U<K

��

18

The Tie [T9, 9.1-9.3]

The tie is shown in braille by dots (4, 14): @c The tie sign follows the first note of the two involved. If the note is dotted, the tie comes

after the dot. If the two notes are separated by a measure bar, the space comes after the tie sign. The following five examples illustrate these statements. Example 4-4 Example 4-5 Example 4-6

��

��

��

q@c]'g \'@chih r\@c rv

Example 4-7

��

� � � � � � � � � � � � � � � � � �

#A R' P' N' P' ?:$ \]$ O'@C O' P$ $]\ S[

[\] P] O$ N'@C N'<K

Example 4-8

��

� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �

#A R[ W[\ T? :?W SW ?W[ RV OV P$ [\$ O\

W[\ S[ ?W[ R'@C R'<K

Practice brailling all of the examples in this chapter, working from the print copy with the corresponding braille covered, and complete the drills perfectly before transcribing the exercises to be submitted to your instructor.

� ��

19


Drill 1

��

Drill 2

��

Drill 3

��

� � � � � � � � � � ��

Drill 4

��

� � � � � � � � � � � � � � � � � ��

Drill 5

��

� � � � � � � � � � � � � � � � ��

20

Exercises for Chapter 4

Exercise 1

��

Exercise 2

��

� � � � � � � � � � � � � � � ��

Exercise 3

��

� � � � � � � � � � � � � � � � � � � ��

Exercise 4

��

� � � � � � � � � � � � � � � � � � � ��

Exercise 5

��

� � � � � � � � � � � � � � � � � � � � � � � ��

21

Exercise 6

��

Exercise 7

��

Exercise 8

��

Exercise 9

��

23

Chapter 5 Whole and Double Whole Notes and Rests, Measure Rests, and Transcriber-Added Signs

The Whole Note [T1, 1.1] The whole note is formed as follows: Basic shape + Dots 3 and 6 = � Note the familiar upper dots (names) in these whole notes:

��

y z & = ( ! )

The name is shown by upper dots only. The time value, whole, is shown by the presence of

dots 36. To transcribe the whole notes, first get the fingers ready for the upper dots (basic), then for

brailling dots 3 and 6, and press the keys simultaneously. Think: “upper,” “lower,” “together,” as before. Examples 5-1 and 5-2 are presented for additional practice in brailling whole notes.

Example 5-1

��

#A Y ! = ! Y Z Y@C Y Z & = Z Y ( =@C =<K

Example 5-2

��

#A Y & ( ! ) ! (@C ( ! Y ! = ( ) ( & = !

= Z ) Z Y@C Y<K

The Whole Rest [T4, 4]

The whole rest is designated by dots 134: m

��

24

This symbol is used either to represent two half notes or four quarter notes of silence within a larger measure, or to show a whole measure of silence no matter what the time signature may be.

If a whole rest constitutes only part of a measure, it is brailled as shown in Example 5-3; that is, it is not separated by a space from the rest of the measure. If the whole rest represents a complete measure of silence, however, it is preceded and followed by a space unless it is followed by a double bar. Examples 5-4 and 5-5 illustrate this use of the sign. Example 5-3

��

#∙ mr rrr \\m<k

Example 5-4

��

#A PQ ( PO Y OP QP Z M NO & QR ! RQ PO Y

M<K

Example 5-5

��

� � � � � � � � � � � � � ��

#A Q' M S' M ]\[ ?[] \U M P' M R' M ?:$

\$? ]U M<K

The Double Whole Note (Breve) and the Double Whole (Breve) Rest [T1, 1.1, T4, 4.2-4.4] Although the double whole note and the corresponding rest are not frequently used in modern

publications, they are often encountered in older scores in which the measure contains more than four quarter notes of value. When this note or rest occurs, it may be shown in braille by either of two signs:

a. yk mk b. y^cy m^cm

When a breve rest occupies an entire measure, the usual single-cell measure rest, preceded

and followed by blank cells, is normally used, not the breve rest sign.

��

25

Example 5-6 illustrates a breve rest and a breve note, brailled both ways. In transcribing the

drills and exercises in this book, you may employ either procedure, but should not use both in the

same transcription. When finger markings have been introduced, the student will see that

method (b) is preferable in a transcription that includes fingerings.

Example 5-6

�� a.

b.

Transcriber-Added Signs [GT Note 9, 4.1, 5.2]

Occasionally, the transcriber will find that he must add a music sign in braille that is not

actually included in the print. He must identify the sign as transcriber-added by preceding it with

dot 5. The signs that most frequently must be added are rests and accidentals. The need for

transcriber-added rests will be encountered and explained in Example 5-14. Transcriber-added

accidentals will be discussed in later chapters.

The prefix for a transcriber-added sign:

Consecutive Measure Rests [4.3]

Two consecutive measures of silence are indicated by brailling the whole-rest sign twice,

without spacing. Three consecutive measures of silence are shown by brailling the sign three

times in succession, without spacing. For four or more consecutive measure rests, however, one

rest sign is shown immediately preceded by the numeral sign and the correct number, all written

without spacing. These different combinations are illustrated as follows:

a. Two consecutive measure rests:

b. Three consecutive measure rests:

c. Four (or more) consecutive measure rests:

The combination shown under c (using the numeral sign) cannot be divided at the end of a

line, but the combination shown under a and b may be separated if there is not room to place the

entire combination on the same line. Grouping consecutive measure rests is an exception to the

rule in braille music that states that consecutive measures must be separated by a space.

��

��

26

Various Print Methods for Showing Consecutive Measure Rests

Now that the student has learned how to write consecutive measure rests in braille, he needs

to direct his attention to the many different methods employed in print notation to show such

rests. He is likely to be confronted with any or all of the following presentations, especially in

music for an orchestral or band part. The rest of the material in this chapter is not intended

primarily to be a brailling exercise, but a reading exercise to be studied carefully.

1. Each measure rest may be shown individually, sometimes with small numerals printed

above the staff to be used as a counting device by the sighted reader. Such numerals should

not be included in the braille transcription, however. The transcriber has, in effect, gone

through the counting process for the reader.

Example 5-7

2. All the measure rests may be indicated with a single sign between two measure bar lines

-- the familiar heavy horizontal line with cross bars at each end, superimposed on the middle

line of the staff -- with the correct number printed within or above. This number, of course,

must always be indicated in the transcription because it represents the total number of

measures of rest.

Example 5-8

��4

��3

��38

In band and orchestral music particularly, several such indications may occur consecutively.

Where these indicators are separated by such symbols as a sectional double bar, a forward- or

backward-repeat sign, a printed section number or letter, or a change of signature, each group of

rests should be brailled separately, as shown in the following example.

Example 5-9

�� 1 2 3 4 5

�� 1 2 3 4

�� 1 2

�� 6 4

27

Where there is no symbol of this type separating them, however, it is generally better for the

transcriber to add the numbers together and to braille only the total, if the transcription is

intended for a young person playing in a public-school orchestra or band. This procedure is

followed in Example 5-10a.

One should always remember that the blind child must memorize all of his music and do it as

quickly as possible, especially if he is playing with a sighted group. Consequently, it is usually

less complicated for him to read and memorize one total, rather than to try to recall several

numbers in succession at the same time he is counting. Only in rare instances might he

conceivably miss some clue as to the form or structure of the music. For a teacher, a

professional musician, or a conductor, however, one should follow the print notation exactly

when transcribing. This procedure is illustrated in Example 5-10b.

Example 5-10

a.

b.

3. Often consecutive measures of silence are indicated by using the vertical double-whole-

rest sign, alone or in various combinations, between two bar lines. A single sign represents two

measures of silence, with the numeral shown over the staff. For each additional two measures of

silence, the sign is repeated. Thus two signs are used to show four measures of silence, three to

show six measures, etc. If the total number is an uneven number, such as three, five, or seven,

one horizontal whole-rest sign is placed beside the combination to show the odd number. The

signs are arranged in various combinations. Where more than one double-whole-rest sign is

present, usually they are arranged in pairs, one directly above the other. The notation for such

combinations is illustrated in Example 5-11.

Generally, the pertinent numeral is prominently displayed directly over the combination,

above the staff. Sometimes, however, the numeral is missing, as in the final illustration of this

example where five measures of silence are indicated. The numeral must be shown in braille, of

course, and the transcriber must be certain that he reads these kinds of rest indications correctly.

Example 5-11

��2 ��3

��4

��8 ��9

��

4. In music for orchestral or band instruments, consecutive measure rests often are not

grouped together in print, although they must be so transcribed in braille. In cases where the

music for an accompanying instrument is written out in full but in small type, a single whole-rest

sign usually appears for the solo instrument in each consecutive measure, either above or below

the notes for the accompanying instrument. This format is also employed where part-measure

rests are involved.

�� 5 4 3

28

Such small-print music enables the sighted reader to see what the other instrument is doing

and to sight-read his own part simultaneously. The small-print music, however, generally is not

included in the braille score for the solo instrument, and the braillist must take great care to

transcribe only those rests and notes that belong to the solo part. (If the transcriber is requested

to include the cued small notes in the solo parts, this can be done, of course. A brief explanation

is given in Chapter 17.)

In the following example, one should transcribe two measure rests, leave a space, then

transcribe the notes in the third measure. The small notes in the first two measures are for the

accompanying instrument only.

Example 5-12

Sometimes such a section will be shown in print minus the proper rests for the solo

instrument. The small size of the type is then the only indication that the music is for the

accompanying instrument alone. The transcriber must be very careful to include the necessary

rests, each preceded by the dot-5 indication that it is transcriber-added. (See Example 5-14.)

Reading Drill

Typical examples of print notation for consecutive measure rests and how to interpret them

for purposes of music braille are presented to illustrate and emphasize the points discussed in the

preceding paragraphs.

In Example 5-13, notes and rests in small type are obviously for some other instrument; notes

for the solo instrument start in measure 6. One should transcribe five measure rests, space, then

braille the notes in measure 6.

Example 5-13

In Example 5-14, the size of the type is the only indication that the notes in the first three

measures and the first note in measure 4 are for another instrument. It is imperative that the

corresponding rests for the solo instrument be transcribed, although they are not actually shown

in the print. One should therefore transcribe three measure rests, each preceded by dot 5, a

space, then an eighth rest also preceded by dot 5, before transcribing the first three notes of the

solo.

�� 34 � � � � � � � � � � � ��

�� 34 � � � � � � ��

29

Example 5-14

In Example 5-15, the student should transcribe seven measure rests followed by a space, then

the quarter and eighth rests, before transcribing the first note of the solo part.

Example 5-15

In Example 5-16, one should braille eleven measure rests followed by a space, then the

quarter and eighth rests, followed by the first three notes of the solo. Although no numeral is

shown, the printed signs preceding the first measure-bar line indicate ten measures of silence.

Example 5-16

In Example 5-17, eight measure rests are indicated. The “6” refers to six measure rests, while

the “1” and “2” are for counting two individual measure rests.

Example 5-17

Often a band or orchestral part for a single instrument is printed as shown in Example 5-18.

One should transcribe six measure rests. This total includes the double-whole-rest sign (showing

two measures of silence), the whole-rest signs below the small notes in three of the measures,

and the whole-rest sign above the quarter note and rest in the next-to-last measure. The very

small figure “6” in parentheses above the staff gives this clue. Sometimes, the total is not

shown in print, however, and the transcriber must do his own counting. The “1,” shown above

the staff in the next-to-last measure as a counting device, is confusing.

Example 5-18

As shown here, there may be many visual cues regarding the music for other instruments in a

single score. To try to include them in the braille transcription is, for practical purposes, usually

out of the question, as this would greatly lengthen and complicate the result.

�� 24 � � � � � � � � �� 6

�� 34 � � � � � � � ��

�� 44 � � 6 � �1 2 �

�� 24 2 � � � � � � ��

Oboe Horn Oboe(6) �1

� � �

�� 24 � � � � � � � � � � ��

30

However, after going through one or two group rehearsals, the blind reader usually picks up

cues with his ears just as readily as the sighted player does with his eyes, so that such omissions

cause no special problem.

The transcriber may find the notation in Example 5-19 puzzling at first glance. Thirteen

measure rests are called for in this example. The printed numbers are visually confusing because

the first two indicate a precise number of consecutive measure rests, while the last three are for

counting the three individual measure rests that follow the grouping of six.

Example 5-19

Drills for Chapter 5

(Correct transcriptions of these drills are on page 262.)

Drill 1

�� Drill 2

�� Drill 3

�� Drill 4

�� 41 Drill 5

�� Drill 6

��

�� 4 6 � � �7 8 9 � � �

31

Exercises for Chapter 5

Exercise 1

��

� � � � � � � � � � � � � � ��

��

Exercise 2

��

� � � � � � � � � � � � � ��

��

Exercise 3

��

� � � � � � � � � � � ��

Exercise 4

��

��

� � � � � � � � � � � � � ��

Exercise 5

�� 2 � � � 2 � � � 2

�� 8

32

Exercise 6

�� 3 � � � � � � � � � 8 1 2� ��Exercise 7

��

33

Chapter 6

Accidentals [T5, 5.1-5.3]

Natural: �

* Flat: �

< Sharp: �

% Double flat: ��

<< Double sharp: �%%

The signs for accidentals are shown above. Inevitably, one notices that these are the literary

symbols for ch, gh, and sh, and for many braillists this coincidence provides the easiest way to remember them. The sh contraction naturally suggests the word “sharp.” In remembering the flat sign, it may be helpful to recall that the initial letter of the word “flat” -- f -- is immediately followed by the alphabet letters g and h. (Of course, the student is aware that each music symbol has a different meaning in the literary code. It is best not to relate the two, however, except where such natural associations as those given above may prove helpful.)

Directions for Brailling Accidentals The accidental sign is placed in front of the note it affects, as is shown in these examples.

Example 6-1 Example 6-2

��

��

%n *r <p %\%%]r

As in print, if two tied notes affected by an accidental are separated by a bar line, the

accidental is not repeated for the second note. (However, as will be discussed later, any accidental that remains in effect in a new braille line or after a major interruption should be restated at that point.)

Example 6-3

n<t@c w?[]

As in print, any of these signs remains in effect during an entire measure for the same note at the same pitch, but not for the same note shown in a different octave. Example 6-4 illustrates this fact. Example 6-4

*$fid*f q'

If accidentals that are not strictly necessary have been included in the print music, they

should also be included in the braille transcription. See Example 6-5.

��

��

34

Example 6-5

d<jih] h*j?:

Examples for Practice Example 6-6

��

� ��

#A ?%?:%: $]%]\ %\[<W*W NU P<$: ?:*$?

W<W[*W NU<K

Example 6-7

��

� ��

#A \%]*]$ <$:<:? W<W[<[ \%]*]$ <$:<:?

W?:$ NU Y<K

Example 6-8

��

#A ?D<J<IDG<I@C IHGHN <:GEDD<IG HHDDQ<K

Example 6-9

��

#A $R$ %]S] HIW\$ %EF%]:W ?P%] \T?

JIHJIH%G%E &<K

��

35

Example 6-10

��

#A [S[@C [V<T ??V?@C ?VO F$F]V F$F:V

D?D<JWJ S'V<K

Example 6-11

��

#A ['J?W IDFDID$ :'G[] EGIGEG[ %\'FS

W'JN EDJI%HF%GH S@CI%H[<K

Example 6-12

��

#A F<FE<EDI<IH <<j<IH<HGFED EJ<J*JDEFG

H%HIJ?V<K

Drills for Chapter 6

(Correct transcriptions of these drills are on page 263.) Drill 1

��

Drill 2

��

36

Drill 3

��

� ��

Drill 4

�� 4

Drill 5

��

� � � � ��

37

Exercises for Chapter 6 Exercise 1

��

Exercise 2

��

Exercise 3

��

Exercise 4

��

Exercise 5

��

Exercise 6

��

Exercise 7

��

��

38

Exercise 8

��

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